ED 099 291 TITLE . INSTITUTION SPONS AGENCY PUB DATF NOTE EDRS PRICE DESCRIPTORS IDENTIFIERS DOCUMENT RESUME 88 SO 007 989 Music, Grades 7-9. Secondary Schools Curriculum Guide. Cranston School Dept., R.I. Bureau of Elementary and Secondary Education (DHBW/OE) , Washington, D.C. 73 \. 81p.; See SO 007 990 for a guide to grades. 10-12 MFJ$0.75 HC-$4.20 PLUS POSTAGE *Applied Music; Class Activities; Course Content; Course Objectives; Curriculum Guides; Junior High Schools; *Music Activities; Musical Instruments; Music Appreciation; *Music Education; Teaching Techniques Elementary Secondary Education Act Title III; ESEK Title III ABSTRACT Five course titles are included in this music guide for use in grades 7-9: General Music 1, an introduction to music and musical instruments; General Music 2, a survey of types of music; History of Popular Music; Music--Guitar; and Basic Keyboard. The major objective of each course is predicated on student and teacher observation of the students' ability to perform the specific activities grouped in topic areas under,the major objective. The teacher can use the guide to prepare lessons and to provide individual students and groups of students with a resource to aid them in achieving expected goals. The material is presented in portions of a school year, making it possible for students to relearn or make up a portion of a year's course. The activities or subobjectives were developed with Bloom's taxonomy of affective, cognitive, and psychomotor domains in mind. (JH)
Transcript
ED 099 291
TITLE .
INSTITUTIONSPONS AGENCY
PUB DATFNOTE
EDRS PRICEDESCRIPTORS
IDENTIFIERS
DOCUMENT RESUME
88 SO 007 989
Music, Grades 7-9. Secondary Schools CurriculumGuide.Cranston School Dept., R.I.Bureau of Elementary and Secondary Education(DHBW/OE) , Washington, D.C.73 \.81p.; See SO 007 990 for a guide to grades. 10-12
MFJ$0.75 HC-$4.20 PLUS POSTAGE*Applied Music; Class Activities; Course Content;Course Objectives; Curriculum Guides; Junior HighSchools; *Music Activities; Musical Instruments;Music Appreciation; *Music Education; TeachingTechniquesElementary Secondary Education Act Title III; ESEKTitle III
ABSTRACTFive course titles are included in this music guide
for use in grades 7-9: General Music 1, an introduction to music andmusical instruments; General Music 2, a survey of types of music;History of Popular Music; Music--Guitar; and Basic Keyboard. Themajor objective of each course is predicated on student and teacherobservation of the students' ability to perform the specificactivities grouped in topic areas under,the major objective. Theteacher can use the guide to prepare lessons and to provideindividual students and groups of students with a resource to aidthem in achieving expected goals. The material is presented inportions of a school year, making it possible for students to relearnor make up a portion of a year's course. The activities orsubobjectives were developed with Bloom's taxonomy of affective,cognitive, and psychomotor domains in mind. (JH)
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SECONDARY SCHOOLS CURRICULUM GUIDES
Prepared by:
THE FIFTH QUARTER PLAN
FUNDED BY:
TITLE III' EsStEtAs
Rs It. DEPARTMENT OF EDUCATION
CRANSTON SCHOOL DEPARTMENTCRANSTON, RHODE ISLAND
DR.'JOSEPH J. PICANO, JR.SUPERINTENDENT OF SCHOOLS
IMR. JOSEPH A. MURRAYASST. SUPT.INSTRUCTION
MR 'LOUIS GELSOMINOASST SUPT..~ADMINISTRATION
DR. GUY N. DIBIASIO MR. CARLO Al GAMBADIRECTOR OF CURRICULUM DIRECTOR CF GRANT PROGRAMS
MR. ARNOLD R. ROGERSDIRECTOR, FIFTH QUARTER PLAN
School Committee
Mr. Edward D. DiPreteChairman
Mr. Richard I. Barber
Mrs. Carol R. Brooklyn
Mr. Rodney M. Brusini
Mr. Christopher P. Buonanno
Mr. Peter Kougasian
Mrs. Anne Mooradian
Mr. Edward I. Nelson
Mr. A. William Olsen
Secondary School
URRICULUM GUID E.
Prepared By
a curriculum'writing team
of secondary teachers
Project PACESETTER
and
The Fifth Quarter Plan
Title III, E.S.E.A., 1965
Cranston School Department
845 Park Avenue
Cranston, R.I. 0291.0
1973-74
INTRODUCTORY NOTES
The Cranston Secondary School Curriculum. Guides are intend-ed to serve. as a resource to teachers, s'tudents ,. departmentchairmen, guidance* personnel, curriculum planners, and any-one else involved in present or future curriculum planning.
Teachers are urged to utilize the guides in lesson prepa-ration and for purposes of providing individual studentsand groups of students with a resource; student achievementis often influenced by a knowledge of what is expected withrespect to course objectives. Differences in abilities andneeds among students and classes can be served by selectingappropriate objectives and activities.
The guides will also be useful for purpos-e~ r of describingand communicating secondary curriculum goals tothe public when such a need arises from time to time.
The organization of the guides is such that most sectionspresent materials in terms of portions of a school year,thus making it possible for students 'to re-learn or makeup a portion of a year's course. This'is.possible whetherthe course is offered in a full year or in shorter unitsof time.
GUIDE FORMAT
At least one major objective is stated for each section ofthe guide. Each is bread in statement encompassing the workof large'units or entire sections.
Numbered objectives (Objective il) are specific and intendedto indicate the level of learning (the learningthe content (what will be learned), and the means of evalua-tion. thus the objective describes learning in relationsnicto the learner. The teacher's function is to design methodswhich will effect the result. Most objectives in tne guidesare followed oy "activities."
Suggested activities are intended to support the objective
at.1.
to which they are as.sign?d. Such statements either relatehow the student wi-11 attain the objective or may be con-
sidered as suh-objectives.
OBJECTIVES IN TERMS OF LEARNING VARIABLES
Bloom and his colleagues devised a taxonomy of educationalobjectives designed to classify the behavior. of students
in three domains as a result of having paY.ticipated in a
series of instructional experiences. The three domains
are the cognitive (intellectual), the affective (emotional),
and the psychomotor (physical). Within each of these do-
mains there is a hierarchy which denotes increasing com-plexity of learning as shown below.
--- ----Cognitive Affective psychomotor
knowledge receiving frequency
comprehension responding energy
application valuing duration
analysis organizingsynthesis characterizing
In addition to the general technique of the behavioralstatement, the authors were careful to differentiate thelevels at which given behaviors could be expected of the
student. Thus, in the cognitive domain a student's per-
formance in the display of knowledge_ of a concept is less
complex than the student's performance wnen he applies the
concept in a given situation. Similarly, in the affective
domain, a response to a situation is not as complex as the
Jisplay of a value towarr: a given situation. Precise dif-
ferent;ation among variaJles is very uifficult or, in many
cases, impossible, but utinq these variables to formulate
objectives is a means of focusing tne attention of theteacher and the learner upon the existence of levels of
learning.
1
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TABLE 'OF CONTENTSMUSIC
Grades' 7-9
Title
General Music I
General Music 2
History ofPopular Music
Music: Guitar
*Basic Keyboard
Suggested,Section Grade
MUS 1 7-9
MUS 2 7-9
MUS
MUS 4
MUS 13
*Included in both Jr.-and Sr. High School guides.
7-9
7-9
7-12
MUSIC I
MAJOR OBJECTIVE
O 1.7A
THE STUDENT WILL INCREASE HIS KNOWLEDGE OF MUSIC IN EACH OF THESPECIFIC AREAS cup BY PERFOP1ING' IHE FOLLOWING SUGGESTEDACTIVITIES AS MEASURED'BY TEACHER MADE TESTS AND TEACHER /SELFOBSERVATION.
Most of the activity sequence and some titles follow thetext: 'Making. Music Your OwA, Book 7, ueneral Learnirl Corp.1V71. Used bly permission.
I. Environmental Sounds and Music
Activities:
1. Define the difference between random sound %tenvironmental)and music.
2. Name and describe two examples of environmentalsounds used in musical compositions.
3. Play given rhythms (page 238 of the text) using anyobject (s) found in a classroom.
4. Create at least three rhythmic patterns using anyobject(s) found in a classroom and to notate them /
with teacher assistance.
5. (Optional) Create a composition by tapE recordingenvironmental sounds. These sounds are to be organizedinto a definite form and also "notated" on paper.
II. Instmmental Program Music and Visual Images
6. Give the definitions of-the following words: pitch,tempo, rhythm, dynamics, legato, staccato, crescendo,decrescendo and orchestration. (All of'thesewords can be found in thetextboak glossary).
7. Use the above words in describing a composition ofprogram music.
8. Describe a scene co, a story after listening to acomposition of program music. It is not necessaryto know nor to describe the composer's original
"program."
9. Describe a scene or a story after listening to acomposition of program.music. It is not necessaryto know nor to describe the composer's use of musicalelements.
10. Explain a composer's use of musical elements andtechniques in one of his pieces of program music thatenable a listener to follow the story or visualize
.
4
MUSIC .I I,.
the scene which was "described" musically:
1.1. Sing and/or play. "Sea. Calm" wsell enough to suggestthe calmness of the sea. -45
12. Sing (with the class) one of the four parts ofQuiet Night" well enough to assist the clasperforming this song in an appropriate style.
13. Play given rhythms. The rhythms are to be steadyso that the exercise which imitates the rhythm ofa steam train is easily recognizable.
14. Organize notes and rests of different values intorhythm patterns.
15. Point out repetitions of rhythms heard in aminimum of three compositions.
16. Point out repetitions of rhythms seen in at leastthree musical scores.
17. Explain the necessity of some repetition in music.
18. Explain the necessity of some contrast in music.
19. Sing and/or play the rhythm phrases in "America, theBeautiful."
20. Sing with the class (one part or the other) the song"Pretty Saro." Once it is learned, the repetitionsare to be identified.
III. Beat, Meter, and Tempo
21. Explain the meaning of and the use of time signaturesin six pieces of music in the text.
22. Demonstrate understanding of the'differenCe betweenbeat and rhythm. This demonstration can involve theuse of instruments or the use of marching andclapping in addition to a written or oral explanation.
23. Conduct in two, three, and four well enough .tocorduct a class in six given songs.
24. ("Ave the ,meanings of these tempo markings: Largo,Adagio, Andante, Allegretto, Allegro, Presto
25. Demonstrate an understanding of tempo by performingor conducting three short pieces of music each inthree different tempos.
MUSIC I
26. Identify aurally whether a piece of music is in
duple or triple meter.
27. Compare the time signatures of C and C to 4/4 and
2/2 in musical scores.
;8. Sing and conduct "Jikel Emaiveni" which is .n cut
time.
.p.
29. Sing "Rain." This song has several meters and must
be sung in exact time.
30.. Sing "Havah Nageelah" accurately increasing the
tempo on the second verse. All repeat signs are
to be observed.
31. Read and clap given dotted-note rhythms.
IV. Melody
32. Give definitions of he following: melody, range,
phrases, cadences, musical sentences, tonal center,
tonic, key, tonality.
33. State and identify p, rases in the song"Water Come a
Me Eye"--first aurally Ath *Ale recording and then
visually with the score.
34.. Identify cadences (wh.,:ch are: found at the end of
phrases) by raising your hard when you hear them.
Identify the tonic of any major key orally.
36. Sight-sing given exercises.
37. Perform the dotted-note rhythm in "Columbia, the
Gem...."
35.
Harmony
38. Identify, aurally, the difference
minor chords when they are played
melodica, and/or auto-harp.
39. Identify, aurally, the difference
and dissonant chords.
between major and
on a piano, _organ,
between consonant
40. Identify the dominant seventh chords and the tonic
chords in "The Star-Spangled Banner."
41. State definitions of the following: harmony, chord,
major, minor, consonant, dissonant, tonic chord,
dominant seventh chord.
N4,
MUSIC
42. Sing with a student or students the tonic anddominant seventh chords in the key of F.
43. Sing the I and V chords in the key of 1 withother students in accompaniment to at least tWothe following:"Clementine""Merrily We,-Roll Along""Polly Wo.11'y Doodle""The Moi We Get Together""Streets of Laredo""Down in the Valley"
44. Sing or play given tonality (major and minor)exercises.
45. Sing or play a given exercise in preparation forlearning "Joshua Fit the Battle of Jericho".
46. Sing or play any or all of the three parts of"Joshua Fit the little of Jericho."
47. Sing one or more kthe parts of "AmericaV
*VI. Syncopatioq
48. Clap or play on a percussive, instrument givenexercises in syncopation.(pages 253-255 of text).
49. Perform and point not t!lo !zyrcrpition in minimomof three of the following songs: "The John B.. Sails"song (p. 123), "Oh, Won't Tou Sit Down"' (P. 140),"New Hungarian Folk Song" (p. 205), "Yellow Bird"(P. 188).
5.0. Define syncopation'.
VII. Musical Form
51. Identify, in a musical score, the repetition ofsections.
52. Identify contrasting sections in a musical score.
53. Label sections of a musical score with letters of thealphabet to indicate repeated sections, contrastingsections, etc.
54. State the musical meanings of and reasons for thefollowing repetition, contrast, form, three-partform AB, ABA.
55. Chart the rhyme schemes of given poetry by labelingthe lines with letters of the alphabet. Thisprocess is analogous to charting the form of music.
*Optional
MUSIC I O
. v
56. Clap and/or play given rhythMs: After they are
learned, the rhythms are to be repeated as necessary.
to create'specific musical forms.
57. Define "fugue:'
58. Perform with - class any or all parts of "Fugue:'
59. Sing with a class any part of the song "Every Time
I feel the Spirit."
60. Explain the purpose of D.S. Al Fine in the song
"Every Time I feel the Spirit;'
61.,:Sing and describe the form of "The Marines' Hymn;'
VIII. MusiCal Form - Application
62. iDemonstrate the ability to aurally analyze the form
bf music,by completing a given chart of a piece of
music \ .
63. State the musical me.ning of the .words' bridge,
passage, and coda so that-they can be identified
in examples of them presented in a recording such
as Tchaikovskios "Trepak" from the.Nutcracker
64. Indicate the dynamic changes of each section of
71. Describe the purpose of bridge passage in a musical
ck.mposition.
a
O
0
'14
et,
0
MUSIC
72. Describe the purpose of a coda in a..musicalcomposition. -t
73. Do given yxercises for more familiarity withminor tonality.
74. Recognize in an orchestral rendition the melody. of Haydn's Symphony N3. 94, Mvy. 2 after hearing
the melody played on the piano several times:
75. Describe the form of the melody of the secondmovement of Haydn's Symphony No. 94.
76. Describe the meanings and purposes of the followingas they pertain to Haydn's Symphony No. 94: phrase,section cadence.
77. Learn nodger Young" and be. able to explaincorrectly the repeat signs, double, endings and theshifting of the,harmony to the above melody.
The Fugue
78. Define the following: subject, exposition, voices,counte point, episode, imitation, stretto.
79. Loc-"Pa
80. Locof
e the subject for all voices in the fugueade."
to stretts in the fugue "Parade " with a grouptudents.
81. Perform at least two of the parts of the spokenfugue with a group of students.
82. Aurally identify the instrument used in Bach's"Fugue in G Minor."
83. Identify the form of the music Bach's "Fugue in GMinor."
84. Point out each entrance of the subject afterstudying the exposition section of Bach's "Fuguein G Minor."
85. Play the rhythm of the first ten measures of "TheLittle Fugue in G Minor",usi.ng percussion instruments.
86. Sing with a class: "Fugue."
87. Sing with a class: "March of the Three Kings."
MUSIC I
XI. Rhythm - Application
88. Perform given rhythms with classmates using
vocal and-,body sounds only.
7
89. Write a minimum of three sets of rhythms, two
measures long, in four-four. These rhythms are to be
performed by a class using a variety of vocal, body
or environmental sounds/(one for each set rhythms).
90. Conduct the class using your own rhythm score and
include variety of pitch (harmony 'is optional),
dynamics and tempo.
XII. The Musical Score
91. Sing along with 'a class' "Spirit of the Summertime,"
prior to studying the instrumental score of the
same piece of music.
92. Compare the vocal and instrumental versions of
"Spirit of the Summertime."
93. Discuss or write about the instrumentation, meter,
tempo, and dynamic indications of the score of
Haydn's Symphony No.'94, Mvt. 2
94. Follow the I violin and II violin parts separately
in sections A and B of Haydn's Symphony .do. 94,
Mvt. 2.
95. Describe how Haydn achieved variety in Variation I,
sections A and H.
, XIII. _Timbre
.,.,
,
. ,
96, Discern, aurally, the difference among the timbre
(tone color) of the instruments of the string
-.-family, woodwind family, and the brass family.
97. Discern, aurally, the difference between timbres of
,
the tone color of light orchestration and heavy
orchestration.
98. Demonstrate what overtones are by using a piano.
99. Define: timbre (tamebr), fundamental tone, overtones,
harmonic series, and orchestration.
IOU. Perform (with cIassm4les) a given rhythm song. The
sound producers suggested should be used and then
percussiion instrum&mts for comparison of timbre
(tone color).
MUSIC I
101. Identify visually and aurally a minimum of four
instruments of each family of instruments of the
orchestra.
p
102. Id: tify the timbre of the four families of
i struments of the orchestra as presented in
Be jamin Britten's composition: The Young Person's
Gu to the Orchestra.'
103. Point out the various instrumental parts in an
orchestral score.
104. Demonstrate the ability to hear a fragment of a
theme repeated in an orchestral piece of music by
identifying the instrument or instruments playing
it.
105. State the musical meaning of: motive, sequence,
orchestra, strings, woodwinds, brass, percussion,
'score.
106. Describe the function of keys and valves on woodwind
and brass instruments.
107. Describe the various ways that vibration is made
(to produce sound) by each type-of orchestral
instrument. h
108. Describe the relationship of the instrument's size
to its tonal range.
109. Audibly recognize each instrument or instruments
which state the theme_in the fugue (The Young
Person's Guide to the Orchestra).
8
110. Clap given rhythms which are derived from the
theme of Britten's "The Young...."
111. ,Clap the rhythm of the fugue subject of "The Young..."
112. Sing with the class the following rounds:
Tallis RoundDona Nobis Pacem
Hey Ho! Nobody Home Die Musici
AlleluiaHunting Round
XIV. The Violin
113. Discuss or write abbut the virtuosity of the
violid as a solo instrument.
114. Explain a minimum of four methods of producing
various timbres en the violin e.g. vibrato,
spiccato, pizzicato, double stops, harmonics,
tremolo, glissando.
MUSIC I
115. Name a minimum of five parts of the violin andthree of the boVi.
XV. String Ensembles
116. Describe chamber music,
117. Describe a string quartet.
118. Recognize aurally the timbre of a string quartet.
119. Describe a serenade such as was popular withthe eighteenth century composers.
1204 Aurally recognize Theme A in Mozart's Eine KleineNachtmusik, "Minuet" which is a serenade writtenfor strings alone.
XVI. Woodwind and Brass Ensembles
121. Recognize the timbre of a woodwind quintet.
122. Recognizt the timbre.of the orchestra's brasssection.
123. Describe the orchestration of a woodwind quintet.
124. Indicate what each instrument of the quintetcontributes to the whole.
P. 9
125. Define ensemble as it pertains to musical performance.
126. List the standard number and kinds of instrumentsof the modern symphony orchestra. \tt
127. Aurally identify Themes I and II of Hindemith'swoodwind quintet entitled Kleine Kammermus/ik.
128. Listen to "Fanfare" from Paul Dulas' ballet LaPeriand be able to describe the difference in tiiETEofthis music from Hindemith's Kleine Kammermusik.
XVII. Percussion Ensembles
129. Discuss or write about how percussion instrumentscan be used to express music?1 ideas.
130. List and/or identify 12 out of the 29 percussioninstruments used in Varese's composition Ionisation.
131. Describe how Varese used the following instrumentspercussively in his composition Ionisation: piano,chimes, celesta.
ft
r, MUSIC I p. 10
132. Discuss or write about the rhythm, timbre, dynamicsand texture of Varese's Ionisation.
ti
XVIII. Musical Texture
133. Define the following words which are used todescribe musical texture: monophonic, polyphonic,or. hOmophonic.
134. Indicate whether music played for him is monophonic,polyphonic, or homophonic.
11.35. Sight-sing a minimum of one line of "Hodie ChristusNatus Est" (page 65 of text).
136. Perform with a class the song "Rain" (Page 174of text).
137. Perform with a class the song "Tina, Singer"(page 179 of text).
XIX. Combinipg Textures
138. Indicate changes of musical texture in any givencomposition. One example: Handel's Hallelujah:Chorus from Messiah.
139. Define oratorio.
140. Play or sing one cart of a given vocalchording(p. 250).
141. Define: tonic, subdominant, dominant chords.
142. Accompany the following songs with a piano,accordian, guitar, ukelele, autoharp or tuned bells:"On My Journey" (P. 12U)"Lolly Too-dum" (P. 126)"When the Saints Go Marching in" (P. 130)"Water Come a Me Eye" (P. 176).
XX. The Harpsichord and Piano
143. Compare the harpsichord and the piano in terms ofconstruction and dynamic possibilities.
144. Discuss or write about the changes in styles ofmusical composition as influenced by experimentationand changes in the construction of instruments.
145. Discern the difference in timbre between the pianoand harpsichod.
MUSIC I p..I1
XXI. An Opera Overture
146. Define overture at: it pertains to opera, oratorio,and/r ballet.
147. Describe how a composer can use any of the followingmusical devices to express two contrasting ideas;
167. Write a two measure motive and to give examples of
extending it with a variety of musical ideas.
(See PP. 251-252.)
XXVII. Compositional Devices
168. Chart the form of a piece of mus,ic such as
"Andante-Chorale St. Antonii" (Haydn's
Divertimento No. 1 in B-flat', record Ill), and
Gould's American Salute.
169. Write a three-measure sequence when given the
motive and the first note of each of the two
MUSIC I p. 13
entrances, supplied by the teac.,er.
170. Rewrite a minimum of three measures ofmusical nctation using the compositionaldevice of augmentation.
171. Listen to Gould's American Salute and indicatefragmentation of the moir7e7T-Fiming thewords of "When Johnny Comes Marching Home"associated with the fragment.
172. Perform any part or parts of exercise 21on page 252 of text.
173. Sing, clap, or play the following songs:"Gaudeamus Igitur" (P. 185)"Columbia, the. Gem of the Ocean" ,(P. 226)"Chorale St. Antonii" (P. 186)
XXVIII, More Compostional Devices
174. Explain the compostional.devices diminution and
augmentation for expanding a musical idea.
175. Count and identify by alphabet4.zing the phrases
in Billings' "Chester" (P. 78).
176. Describe "Chester" in regard to its musical
texture.
177. Demonstrate an understanding of diminution by'rewriting four measures of given music using
that device.
178. Demonstrate an understanding of augmentation byrewriting four measures of given music using
that device.
XXIX. A amaltim for Orchestra
179. Explain the mood differences among the sevenmovements of Hoist's orchestral suiteThe Planets.
180. Discuss or write about the various musicaldevices used to express the extramusical ideas
in Hoist's The Planet:.
XXX. The Chorus
181. Describe a minimum.of four musical devices that
Walton uses to "tell" the story in his
oratorio BelshazzaY's Feast.
MUSIC I p. 14
182. Describe how the composer of Belshazzar'sFeast intensified the text through musicalmeans.
183. Study Randall Thompson's Alleluia and be ableto describe the use of dynamics ind texturefor variety.
XXXI. Art and Imagination
184. Compare a variety of art forms (poetry, paintingand music) which have a common subject.
185. Discuss or write about ways in which soundsand sights can affect the imagination.
186. Discuss or write about how two painterstreated the subject of water to createparticular moods. (see pages 116 and 117)
1q7.. Pick out the words and phrases in given poems(pages 116 and 117) that are paiticularlyexpressive.
188. Compare the moods created in the music of theexcerpt of Wagner's. Overture to The FlyingDutchman and Ive's The Pond.
189. Explain why an imaginativp mind is asessential to the individual who experiencesa work of art as it is to the one who createsit.
'MUSIC 2
MAJOR OBJECTIVE
p 1
THE STUDENT WILL INCREASE HIS KNOWLEDGE OF MUSIC IN EACH OFTHE SPECIFIC AREAS CITED BY PERFORMING THE FOLLOWINGSUGGESTED ACTIVITIES AS MEASURED BY SELF AND TEACHEROBSERVATION.
Most of the activity sequence and some titles follow thetext: Making Music Your Own, Book-81 General Learning Corp.1971. Used by permission.
I. The Voice
Activities:
1. Analyze the speaking and singing voice in ter,dPI u, QUALITY, INTENSITY, and ARTICULATION.
r
R
2. Become aware of his own voice and to be able' to ex-plain two or three physical reasons why his voiceis different from anyone elscs.
3. Make a comparison of the speaking and singing voice.
4. Describe how Pete Seeger uses his voice in hisrecording of "The Foolish Frog."
S. Demonstrate tonal variations by using a tonal ex-ercise.
6. Perform syncopation exercises in preparation forlearning "Got to Travel."
7. Perform with the class one of- the four parts of thesong "Got to Travel."
8. Participate in four out of these seven rounds:
"Song of Peace"
"To the Gri,enwood Tree"
"Hallelluia:"
"Let All Be Joyful"
"Come, Let's Dance"
"Alleluia"
"An Malzel"
MUSIC 2 p. 2
II. Style in Performance
Activities:
9. Describe a minimum of three singing styles.
10. Analyze how the voice is used to interpret a .
folk song,,a blues song, and a dramatic operatic
aria.
11. PerfOrm these songs with the class:
a. FolkSong: "I Know Where I'm Goin'"
b. Art Song: ",Der Lindenbaum"
c. Operatic Aria: "Toreador Song ".
d. Musical-comedy Song: "Seventy-six Trom-
bones"
e. Blues: "Joe Turner Blues"
12. Describe SEQUENCE in music after studying and singing
(alone or with a group) a given loercise in G.
13. Clap or play on a percussive instrument rhythm
exercises in preparation for ' Puttin' On the
Style."
14. Analyze the styles of performance for the
following songs:
"Puttin' On the Style"
"In a Manger"
"Come,. Ye Thankful People, Come",
"Gypsy Rover"
15. Sing with the class two styles of."Our Beautiful
Valley." (chordal and a round)
16. Sing one of the three parts of the following songs
emphasizing the.differences in style:
.9
"Hine Ma lov"
"Ding -bong: Merrily on High"
Ill
'MUSIC 2,
Choral Styles
Activities:
17. Describe the GREGORIAN CHANT (plainsong) styleof choral singing.
18. Explain POLYPHONY as it applies to the developmentof choral singing.
19. Count and clap given rhythm patternsas four-part rounds.
20. Define MONOPHONIC, POLYPHONIC, HOMOPHONIC.
21. Sing with the class one of the three parts of thecanon (in Latin): "Non Nobis, Domine."
22. Sing one of the three parts with the class of the"Nir.e Hundred .Miles" (D-minor).
23. Sing one of the four parts. of "All My Trials."
24. Describe CANTATA as compared to a CHORALE.
25. Compare the musical textures (homophonic andpolyphonic) of the hymn "Num Danket Alle Gott"by Bach and his cantata Kyrie Eleison.
26. Perform and/or describe the styles of thefollowing songs as compared to chorales andcantatas:
"Now Thank We All Our God"
"Lord Jesus, Blessed Prince of Peace"
"There Stood in Heaven a Linden Tree"
"Amte
rica"
"Still, Still, Still"
27. Sing one of the parts.of '!The American Hymn"
28. Sing one of thy parts of "God Bless America."
29. Define ORATORIO.
3U. Describe general differences between the musicalstyles of the Classical period and the Romanticperiod.
s'
(
MUSIC 2
31. Name two or three composers from eachof these periods: Baroque, Classical,Romantic.
35. ,Recognize aurally the following partS oGeorges Bizet's Carmen: Prelude
"Chorus of Cigarette GirlS"
"Habanere
"Gypsy Song"
"Toreador Song" and"Chorus"
Duet and Final Chorus
36. Clap or play in a percussive way the rhythmsbased on the Prelude from the opera Carmen byBizet.
37. Sing alone or with a group a tonal exerciseusing numbers,Ysyllables, or letters. The ex-ercise is based on "Habanera" from the operaCarmen.
38. Idehtify the three themes in Carmen.
39. Describe the form of the opera Carmen.
40. Describe the contrasting moods in Carmen withwords such as gay, sombre, etc., as well as interms of rhythm, tonality (major, minor), tempo,articulation (staccato, legato), instrumentation,texture.
The Baroque - OrchestraI
Activities:
41. Describe the devetOpm2,nt of the early orchestra.
0
MUSIC 2 p. S
4i, Describe the instrumentation and the instrumentsof a Baroque orchestra.
43. Describe the use of concertino, repieno in theconcerto grosso style popular in the Baroqueperiod.
44. Become familiar with the timbre of a Batoqueorchestra by listening to recordings.
4S. 'Perform with the class a spoken "ConcertoGrosso."
46. Sing one part of the song, "Praise to the Lord."
:VI. The Classical Orchestra
Activities:
47. Describe how the Baroque orchestra was exppndedto become the ?Classical orchestra.
48. Describe the changes in the instruments themselvesby the time of.the Classical period.
49. Describe the chafacteristics of orchestralmusic in the Classical period.
'50. Study the score of Mozart's Overture to TheMarriage of Figaro (p. 55) and name theinstruments commonly used in our modernorchestra that are missing in the standardClassical orchestra.
51. Describe the use of sudden dynamic changes inClassical music.
S2. Perform one of the parts of,the rhythm ensemble(pp. 266 and 267) using a percussion instrument,orother sound-producing object.
VII. First Movement of a Classical Symphony
Activities:
53. Outline and explain sonata form which was commonlyused for first movements in Clas'sical symphonies.
54. Describe how a composer can expand a musical idea.
';
)14
1:
a
MUSIC 2 p. 6
55. Count and clap exercises in preparationfor studying Mozart's Symphony No. 40 inG Minor, Movement 1.
56. Compare given rhythms with the firsttheme of Mozart's Symphony No. 40.
57. Identify aurally and visually, in the scorethe two main themes of thefirstmovement ofMozart's Symphony No.,40.
58. Define: symphony, expositior, development,recapitulation, bridge, codetta, and coda.
The Romantic Orchestra, .
Activities:
59. Describe the growth of the orchestra intothe symphony orchestra.
60. Describe the characteristics of orchestralmusic in the Romantic Period.
61. Count and Clap rhythm patterns based onGliere's Russian Sailor's Dance.
62. Participate it the singing of chordprogressions in G. Minor.
63. Sight-Play-or sight -sing tonal variationsbased on the Russian Sailor's Dance.
64. Describe the differences among the threeIowal variations,, and the original RussianSailor's Dance.
65. Explain the composers use of tone color inthe Romantic Period.
r
-7
66. List at least seven out of the ten instrumentsand the changes made to the Classical orchestra ,-for the development into the Romanticorchestra.
67. Describe the overall timbre of.a Romantic-orchestra.
IX. The Modern Orchestra
Activities:
68. Explain some of the minor variations in theinstrumentation employed by modern composers.
11I.
MUSIC 2-
69. Count and clap changing meter based onStravinsky's "Games of Rival Tribes" fromThe Rite of Spring.
70. Count and clap Off-beat patterns based onStravinsky's "Games of Rival Tribes."
71. Be able to explain diagrams of the Baroque,Classical and Romantic orchestras.
X. The Conductor
Activities:
72. Explai the role of the conductor.
73. Antirrain the training and skills that aconductor needs.
74. Hear. differences between,two conductors'performances of the same piece of music.
75. Sing with a small or large group exercises intone (Keys of G major and G minor).
76. Sing with a group a round which is based onMozart's Symphony No. 40, Movement 3.
77. Sing one of the four parts of ,the song "ElVito" which has syncopation similar to thatfound in Mozart's Symphony No.,'40, Movement 3.
XI. The Performer
Activities:
78. Discuss the role of the performer as acultural ambassador.
79. Become familiar with the musical content of thethird movement of Mendelssohn's Concerto inE Minor for Violin.
7
6.
80. Define concerto.
81. Clap the rhythms based on Mendelssohn's Concertoin E Minor for Violin.
82. Recognizeaurally the three themes in Mendelssohn'sConcerto in Ii Minor for Violin.
MUSIC 2
XII. The Baroque Period
Activities:
P. 8
83.. Summarize a minimum of three characteristicsof the Baroque Period.
84. Study representative compositions of Bachand Handel.
.85. Present a brief historical background of the,Baroque period.
86. Compare the obvious differences of timbre,melody and rhythm between Ussachevsky'sPiece for Tape Recorder and Handel's WaterMusic. Introduction-Allegro
87. Listen to Handel's "Hornpipe" from WaterMusic and discuss the rhythm,' instrumentationann melody.
88. Follow the score of Bach's Wachet auf (Sleepers,Wake) while listening to the recording of it.
91. Perform with the class one of the parts of"Sleepers, Wake."
92. Perform with the class one of/ the parts of"Invocation."
XIfI. The Classical Period
Activities:
93. Summarize a minimum of three musical characteristicsof the Classical period.
94. Describe the standard string quartet.
95. Define rondo form.
96. Present a bried sketch (outline) of thegeneral history of the Classical period.
97. Discuss with 'the Mass the characteristics ofMozart's Symphony No. 40 in G Minor, Mvt. 1
MUSIC 2
(exposition) in regard to its melody,
,rhythm, texture and.timbre.
98. Do the same with Haydn's String Quartet
in F Major, Q. 3, No. 5, Mvt. 4
99. Count and clap a rhythm exercise inpreparation) for listening to Beethoven'sSonata for Piano, on. 13, Mvt. 3.
100. Point out the first theme of Beethoven'sSonata for Piano, 22. 13 Mvt '3 each time
1Hiritig presented in NZZtmFosition.The theme is to be labeled A.
.101: Point out the contrasting themes and.label
them B and C in the same composition. (The
resulting diagram should be ABACABA - the
Classical rondo form)
XIV. The Romantic Period
Activities:
102. Summarise a minimum of'sthree musFcalcharacteristics of the Romantic perio4.
103. Present a brief sketch of the general history
of the Classical period.
104. Define "The Art Song."
105. Define "The Solo Piano Piece" as it is related
to the Romantic period.
106. Define the Symphonic Poem.
107. Listen to the following examples of Romantic
composition:(symphonic) "Russian Sailor's Dance" from
The Red Poppy by Gliere.
(art song) "Der Lin0;
enbaum' from theWinterreise by Schubert
(piano, solo) Fantaisie-dmpromptu, 92. 66
by Chopin(program music) "Vltava" (The Moldau) from Ma
.Vlast iMy Country) by Smetana
108. Count and clap a rhythm exercise inpreparation for listening to Smetapa's
The Moldau.
MUSIC 2
109. Explain nationalism in music.
110. Identify aq.rally a minimum of six put of .
'ten" themes (scenes) of Smetana's TheMoldau.
p. 10
111. Sing with the class the Israeli round "Shalom,
Chaverim."
XV. Impressionism
'Activities:
112. Explain briefly the revolt of the French
impressionists (painters and musicians) against
the German artistic style.
113. Present a brief. historical sketch of the
period in further explanation of Impressionism
vs. German romanticism.
114. Compare aurally the following compositions in
regard to melody, rhyam, dynamics, timbre and
mood: "Ride Of the Valkyries" (excerpt) from.
Die Walkure by Wagner (1813-1883)"Play of the. Waves" from La Mer (The Sea) by
Debussy (1862-1918)
115. List at least four of the characteristics of
the music of Debussy.
116. Count and clap a rhythm exercise for practice
in performing dotted rhythms. '
117. Perform one or.more parts of the following
songs which include dotted rhythms:
"Battle Hymn of the Republic""The Star-Spangled Banner""Toreador Song"
XVI. Music of the Twentieth Century
Activities:
118. Hear and compare three examples of twentieth-
century music such as:"Billy the Kid" (excerpts) by Copland
"Goethe-Lieder, No. 2" by Dallapiccolo
"The Rite of Spring" (excerpts) by Stravinsky.
119. List at least five distinguishing characteristics
of modern music noting that not all of them are f
present in every composition.
.0
41.
MUSIC 2
4
4
120. Define atonality in'music:
121.. Design a' twelve-tone tone row and to write
its inversion,, retrogiia.and -retrograde ".
inversion.
122. Discern Dallapiccolo's tone row for his
composition "Goethe-Lieder, No. 2" in the first line
of the score.,123, Listen to Igor' Stravinsky's "The Rite of
Spring, "* Games of Rival Tribes" and "Entrance
of the Sage."
124. Discuss musical characteristics of a twentieth-
century composition by using six measures of
the full score of Stravinsky's "The Rite of ..
Spring."
125. Study the twentieth-century Musical device of
.meter changes, to be able to clap or play a
rhythm exercises
126. Sing(alone or with a group) the familiar tune
of "Twinkle Twinkle Little Star" in its
originalmeter and then with altered meters.
127. Sing one or more parts of the song "TheFiddler" which has meter changes..
XVII. The Elements of Jazz
Activities:
128. Recognize aurally a ilinimum of four uniquecharacteristics of jazz.
129. Recognize aurally an altered timbre of a
trumpet and a trombone.
130. Define: syncopation, blue notes, timbre,
mutes, improvisation, style, bossa nova, jazz,
rock.
131. Sing on a neutral syllable given exercises for
the purpose of understanding the function of
flatted thirds and,sevenths in jazz.
132. Read the syncopated rhythm patterns in at least
four of the following songs:
"Banuwa""Everybody. Loves Saturday Night"
MUSIC 2
"Goin' Down the Road""If I Had .a Hammer" ,Y.
"JaMaica Farewell'""0 Mary, Where is Your Baby?""PUttin' on the Style"
133. Perform by singing playing one of the parts .of
the following songs: .
"Wade in the Water""Joe Turner Blues"
XVIII. .Easa...Jazz Styles
Activities:
134. Discaer the blues form'by creating a 12-measure
blues.
135. Describe the chord progressions in jaiz as part
of the explanation of jazz players' ability
to imprevise.pit
136. Discuss or write a brief paper about the early
history of jazz.
137. Define the following in relation to jazz:
ragtime, Dixieland, vibrato, contrapunc.al
texture, boogie-woogie, New Orleans style.
138. Explain ally breve (cut time)
XIX. Later Jazz Styles
Activities:
139. Describe the development of jazz from the
swing era to the present day.
140. Define the term riff (a musical device) as
used by swing bands.
141. Identify riff aurally in swing music such .v;
"Riff Interlude" by Count Basie.
142. Compare the sounds of early jazz with later
jazz in regard to its beat, size of the bands,
use of riffs, use of improvisation and the
use of written music.
143. Define and identify aurally rides in jazz.
144. Explain differences among Bop, dool Jazz and
Rock 'n' Roll.
4.
t'
MgSIC 2 .13% 13
145. Count and clap four rhythm patterns (toinclude syncopation) separately and thenall four with a group.
146. Perform (play or sing)one of the parts ofthe son.&--'Good.News:'
147. Demonstrate an undestanding of the musicalterms D.S.al Fine by the accurate performanceof "GoaaNei7i.."---
deo
148. Perform "Good News" in another manner bysinging it as a round with the class.
Music of the World's Peoples
Activities:
149. Explain briefly the varied typ'es of music indifferent parts of the world.
150. Show-how the elements of music qre used insome primitive and folk cultures and in theart of some non - Western cultures. Themusical exampleS which can be used are:Song from a Yoruba tribe AfricaAborigine Tribal Song .... AustraliaChant. from Azarejot (excerpt) AfghanistanGazel Niguie Gultchini TurkeyConnla Ireland,Music'for Banquets and Distinguished
. Persons CambodiaImprovisation on "Dadra" by Ravi Shankar...IndiaDeclaration Paysanne by Jean Leon Destine..Uaiti
151. Count and clap a rhyth;! exercise inpreparation to singing "Banuwa."
152. Sing one or more parts of at least four of thefollowing songs of different countries:
"Banuwa" Liberia"This Land is your Land" America"Du, Du Liegst Mir im Herzen" Germany"El Vito" Spain"Tumbalaika" Palestine"Crescent Moon" China"Echo" (round) France
XXI. The American Musical Theatre
Activities:
153. Trace and development of the American musicaltheatre from the minstrel show to the prescnt-
MUSIC 2 p. 14
day Broadway musical.
154. Compare the qualities that cha'racterize various
forms of American musical theater such as the,
show, vaudeville, operetta and Broadway
musical.
155. Listen to the following compositions and explain
the different uses of the elements of music and the
style of the texts:"Camptown Races"
Foster (1826-1864)
"In the Evening by the Moonlight" gland' (1854-1911)
"Ah, Sweet Mysteries of Life" from
Naughty Marietta Herbert (1859-1924)
'You are` 7from Show Boat Kern (1885-1945)
, a "1 Got Rhythm" from girl Craa. Gershwin (1898=1937)
"The Surrey with the Fringe on Top"
from Oklahoma' Rogers (1902)-Hammerstein (1895=1960)
"ToniiI7-7775M West Side Story_ (1918- )
XXII. Broadway
Activities:
156. Become familiar with a Broadway musical by studying
its plot and selected musical excerpts. (The Music Man
by Meredith Wilson 1902- ).
157. Sing one or more parts of the followin.0 songs:
"Goodnight, My Someone""Lida Rose" and "Will I Ever Tell You?"
"Pick a Little, Talk a Little" and "Goodnight Ladies"
"Wells Fargo Wagon"
158. Do a rhythm e:ercise which uses the rhythms of
"Seventy Six Trombones" and "Goodnight, My Someone."
159. Create different effects with the student's favorite
songs by singing or playing them indifferent time
signatures.
XXIII Electronic Music
Activities:
160. Become familiar with an example of electronic music
such as Piece for Tape Recorder by Ussachevsky.
161. Explain how pitch, dynamics, and timbre arc *used
in electronic music.
162. Use a record player to demonstrate how variations
in music are possible by altering conventionally
recordeu music through electronic.manipulation.
,MUSIC 2 p. 15
163. Use a motion picture projector and film todemonstrate how variations in music arepossible by altering conventionally recordedmusic (sound track only) through electronicmanipulation.
164. DeVelop an understanding of edeetronic musicby studying five fundamentals:
1. Any sound can be recorded and preserved ontape.
2. Sounds preserved on tape can be examined and ,
rearranged at will.3. The pitch, duration,' and timbre of any
sound can be manipulated by means ofelectronic equipment.
4. Different sounds can be combined ormixed.
S. Electronic music is usually recorded andreproduced by a recordingdevice. It
cannot be performed live by musicalinstruments.
165. Develop an understanding of the techniques ofelectronic music writing by listening toVladmire Ussacevsky's Demonstration of.Electronic Sounds after learning whatinstruments were used and after reading thefourteen electronic manipulations made ofthe original sounds of.these instruments.
166. Recognize aurally any of the sounds heard inthe demonstration recording when listening toUssachevsky's Piece for Tape Recorder.
,76. Outline a brief history of work songs including prison experiences
which kept them in existence.
77. Listen to the famous Negro folk and Rhythm and Blues singer Huddy
(Leadbelly) Ledbetter in such songs as "Good Night Irene", "Rock
Island Line", "John Henry", etc.
78. Listen to the album Mus(c of t ht South, Vol. 1: Country Brass
Bands.
79: Discover the blues form by creating a 12-measure blues.
80. Describe the use the standard 12-bar blues in "Franky and
Johnny."
81. Describe the chord progressions in jazz as part of the explanation
of jazz players' ability to improvise.
82. Discuss or write a brief paper about the early history of jazz.
83. Compare and contrast the following in relation to jazz: ragtime,
Dixieland, vibrato, contrapuntal texture, boogie-woogie, New
Orleans style.
84. Explain alla breve (cut time).2
85. Count and clap rhythm patterns in T and 4.
86. Describe the development of jazz to the Swing Era:
a. orchestration
b. improvisationc. dance
87. Describe the influence of recording improvements on "jazz" performed
by big bands.
88. Identify the term riff (a' musical device) as it is used by swing
bands.
89. Identify riff aurally in swing music such as Riff Interlude by
Count Basie.
90. Compare the sounds of early jazz with later jazz in regard to its
beat, size of the bands, use of riffs, use of improvisation and
the use of written music.
91. Define and identify aurally rides in jazz.
MUS 3 p. 8
92. Explain differences among Bop and Cool J,/z and Rock Ins Roll.
93. Listen to Rhythm and,Oluet' music which followed Jazz.
94. Discuss how Rhythm .and Blues absorbed gospel, Country and Western.,and folk and bec40e Rock 'n' Roll.
95. Listen to and 1?e able to discuss development of Ragtime out ofpiano style jpz.
96. Aurally dekribe "walking bass" as it refers to jazz.
97. Listen to Boogie-Woogie which followed Ragtime.
98. Count and clap four rhythm patterns (to include syncopation) sep-arately and then all four with a group.
99. Perform (play or sing) one of the parts of the song "Good News",p. 146 Making Music Your Own 8.
100. Demonstrate an understanding of the musical term D. S. al Fileby the accurate performance of a song using this COTEe.
101. Perform "Good News" in another manner by singing it as a roundwith the class.
IV. Rock and Roll
Objective #4: The student will increase his. knowledge of the historyof Rock and Roll by performing the following suggestedactivities as measured by self and teacher observation.
102. Listen to and be able to define "race" records of early 1950's(example artists: Chuck Berry, Bo Diddley, Muddy Waters, andJohn Lee Hooker). These recordings were primarily by and forblacks.
103. Listen to and be able to discuss a significance of 1954 releasesof The Crows' modified version of Rhythm and Blues in "Hucklebuck","Long Gone" and "Pink Champagne".
104. Explain the impact of television on radio programs and profits.
105. Explain how the transistorized portable radio helped to advancethe popularity. of. Rock and Roll.
106. Listen to and discuss the "billy" style of Elvis Presley's 1955release of "Mystery Train".
/P
r
HUS 3 p. 9
107. Discuss Presley's use of guitars in the following 1956 releases:"Heartbreak Hotel", "Love MeiTender", "Blue Suede Shoes".
108. Compare and contrast the style of Bill Haley's (1955) "Rock Aroundthe Clock" to Presley's "Mystery Train"..
,
109. Listen to The Chords' recording of "Sh-Boom" and compare it withThe Crew Cuts' arrangement of the same song.
110. Listen to some Rhythm and Blues recordings which influenced RockandRoll such as "Honky-Tonk", 1956-57-Bill Doggett and "Mabel-line"-Chuck Berry.
111. Compare Little Richard's 1950's hits with the others studied inobjectives 102, 103, 104. ("Long Tall Sally", "Ready Teddy","Rig it Up", "Slippin' and Slidin'".
112. Explain how music truly expresses signs of the times. e.g. (em-phasis on teenagers) from 195C on- "Teen Age Crush"-Tommy Sands,"A Teenager's Romance"-Riay Nelson, "Sweet Little Sixteen" -Chuck Berry.
113. Discuss the lyrics 'of early rock music in relation to theimportance of the r4thm.
114: Discuss Pat Boone's contrasting style in regard to Presley's.
115. Compare and/or contrast popular rock Singers of the 1950's.Elvis Presley sexyPat Boone . youthful optimismRicky Nelson sincerityPaul Anka vivaciousBobby Darin arrogantFranky Avalon, Fabian, Sal Mineo, etc.
116. Listen to and describe the country and western influence on rockthrough recordings by the Everly Brothers. (e.g. "Bye Bye Love"and "Wake Up Little Susie")
117. Listen for country and western influences by analyzing the 1957Buddy Holly release of "That'll Be the.Day".
118. Discuss the apparent growth of Rock and Roll in England by the1958 tour of England by Buddy Holly and the Everly Brothers.
119. Listen to and discuss the early music of some of the Englishrock groups:The BeatlesThe Rolling StonesThe AnimalsThe Dave Clark FiveHerman's HermitsGerry and the Pacemakers
NIUS 3p. 10
120. Explain how this "British" rock sound dominated the American scene
until the influence of folk'on rock.
121. Give a brief history in writing 'of Bob Dylan's migrat'on from the
west to New.York £1961) and his subsequent success as protest pqet
and musician."Blowin' in the Wind""With God on Our Side""Masters of War"
122. Study Bob Dylan's techniques of combining.folk with rock to become
the leader of a new style "folk-rock."
123. Study the music of other "folk- rock" singers:
The BirdsBarry McGuireSimon and GarfunkelSonny and Cher.
TEXT: Units A and B are designed for The New Guitar Course
Book 1 by Alfred d'Auberge and Morton Manus.
Units C and D are designed for The New G....y.Ltar Course Book 2
by Alfred d'Auberge and Morton Manus.
The un is are divided into lessons as a guide only. Some
Fcuden s will progress faster and others considerably slower.
fhe e tra lessons.following unit D are to complete Book 2.
MA'JORI OBJECTIVE
THE UDERT WILL INCREASE HIS COMPREHENSI0i, OF GUITAR BY
PRF RMING THE FOLLOWING SUGGESTED ACTIVT"TES AS MEASURED
BY LF AND TEACHER OBSERVATION.
Activities:
1. Name the following parts of the guitar: head piece,
turning pegs, nut, frets, fingerboard, pick guard
and bridge. i
2.'Demonstrate the correct positiOns for holding a folk
guitar (standing position and sitting position).
See page 3 of the text.
3. Demonstrate the correct manner to hold a pick.
4. Correctly "number" the fingers of the left nand for
fingering a guitar. See page 4 of the text.
5. Name the lines and spaces of the treble music staff.
See page 5 of the text.
6. Describe and point out measures on a music staff.
See page 5 of the text.
7. Explain the proper care of andstorage of the school's
guitars.
8. Explain and demonstrate thq playing of E, F, and G
notes on the first string . (Page 6)
9. Play -qie exercise which utilizes E, F, and G on
page 6 of the text.
,)
MUS 4 P. 2
10.. Play smoothly and accurately the song "Playing With
E, F, G." (Page 6)
'11. Play smoothly and accurately the sung "Doubling Up"
on page 7.
12. Play smoothly and accurately (correct fingering, etc.)
the song "Mixing It Up" on page 7. This song intro-
duces more variety of note progression.
13. Play smoothly and accurately the song " 'E' Nuff:" on
page 7. This song introduces more skipping in the
ma]o
14. Demonst te, the correct fingering of the notes on
the tecon string B; B, C, and D. (Page 8)
15. Play smoothly and accurately the exercise utilizing
B,Z, and 0 on the second string. (Page 8)
16. Play arA,urately the first song to incorporate more
than one string - "Two-String Rock." (Page 8)
17. Play "Two-String Rock" with ease. (Page 8)
78. Explain the purpose and meaning of time signatures
using the examples on page 9.
19. Explain and demonstrate the time values- of quarter
notec, half notes, dotted half notes and whole
notes. (Page 9).
20. Play smoothly and accurately the first song which
incorporates a time signature and a variety of note
values using the song "Beautiful Brown Eyes" page
10,
21. Demonstrate further an understanding of the time
value of notes by playing smoothly and accurately
ttc song "Guitar Rock" on page 10. .
22. lemonstrate further an understanding of the function
of a time signature as it relates to the value of
notes by playing smoothly and accurately the song
"Jingle Bells" on page 10.
23. Demonstrate the correct way to play G and A on the
third string G using the exercise below the diagram
picturing the correct way to do so.
24. Play accurately and smoothly the song "Au Clair De
La Lune" which uses only these three notes: open-
string G, A on the third string C, and open-string
B on pege 11.
*.
MUS 4p. 3
25. Play accurately and smo thiy-the first song to in-
corporate the skill of plying on three strings -
"Three - String Rock" page 1.
*26. Play a slightly more diffic lt song using the first
three strings - "Aura Lee" p ge 12.
27. Demonstrate the ability to reap and play many skips
in a melody by playing smoothly and accurately the
song "Go-Go Rock" on page 12.of he text.
28. Demonstrate the ability to play a variety of note
values accurately by playing the s ng "Lilt Liza
Jane" on page 12 of the text. . \
29. Demonstrate the ability to read and play chords
by studying and playing the examples on page 13.
30. Demonstrate an understanding and ability to read
and play the three-string C chord by using the ex-
ercise on the top of page 14 of the text.
31. Play "Nelly From Guam" with ease and accuracy on
page 14.
32. Execute a quarter rest using the. method described
at the bottom of page 14. (Mute the strings with
Cie palm of the right hand.)
33. Play the song "Rock 'N' Rhythm" accurately, espe-
cially the rhythms created by the quarter -rests.
(Page 14)
34. Read and play the three-string G7 chord as intro-
duced in'the exercise on the top of page 15.
35. Play the song "Country Rock" on page 15 which in-
cludes the three-string C chord and the three-
ist;ing G7 ch.prd as well as quarter rests.
36. Play the song "Love Somebody" on page 15 of the
text.
37. Accompany the song "Love Somebody" by playing the
chords indicated above the music staff. (Page 15)
38. Explain and demonstrate the playing of the 0, E,
and F notes or the fourth string D. (Page 16)
39. Play smoothly and accurately the song "Nonsense
Song" which utilizes the "new" E and D. (Page 16)
MUS 4 p. 4
40. Play with ease and accuracy the Dotes D, E, and F
on the fourth string .by learning the song "Reuben
Reuben" page 16.
fe. 41.. Play correctly the four-is tring G chord as explained
on the top of page 17 of the textbook.
42. Demonstrate -an underitanding of ties in music byplaying correctly the song "On Top Of Old Smoky"
(page. 17).
43.. Play "On Top'Of Old Smoky" (page 17) with ease and
accuracy.
44. Play "G Whiz" (page 17) with ease.. and accuracy.,
45. Play the notes AtB, and C on the fifth string A
(page 18).
46'. Play with accuracy the song "Volc)a Boatman" which
includes the new notes.
47. Demonstrate an understanding of repeat signs by
playing "Volga Boatman" accurately (page 18).
48. Learn to play smoothly and accurately the srig
"Peter Gray" on page 18.
49. Play the four-string chords G chord and G7 chord ,
as presented on the top of page 19.
50. Play smoothly and accurately the four-string G
and G7 chords in a song by learning "Buffalo Gals"
(page 19).
51. Continue work on "Buffalo Gals" (page 19) until a
high degree of musical accuracy is achieved.
52. Accompany the song " Buffah Gals" by playing the
chords indicated above the music staffs.
53. Show further kill in playing four-string chords
by learning t e song "Low-Down Rock" on page 19
of the textbook.
54. Demonstrate the ability to play accurately high
A on the first string E by playing the exercise
below the diagrams on page 20.
55. Play the high A in a piece of music by learning
to play smoothly and accurately the song "Liver-
pool Rock". page 20.
MUS 4p. 5
56. Play the song "The a.die Song" on Page 20.
57. Play the chord accompaniment to the song "The Riddle
Song" page 20.
58. Play either part of "The Riddle Song" with the
teacher. or another student as a duet.
59. Explain fqcomplete measures, and to be able to de-
fine UP -BEAT and PICK-UP notes as illustrated at
the top of page 21 of the textbook.
60. Explain the function of time signatures.
.61. Count accurately and play a piece of music which
has pick-up notes (incomplete measures) in it by
learning the song "AuTisket, A-Tasket" on page 21:
62. Count accurately and play a piece of music which
has a different example of incomplete measures
that the piece named in lesson 26 by learning the
song "The Yellow Rose of Texas" page 21.
63. Play the notes E, F, and G on the sixth string E
as presented on the top of page 22.
64. Play accurately and smoothay the three exercises
designed for facility in 'playing the'new notes
on page 22.
65. Play the natural scale on the guitar utilizing all
of the notes learned up to this point. (From the
open sixth-string E to the high A on the first-
string E.)
66. Demonstrate an understanding of the following tempo
signs by learning accurately "three-tempo rock"
(page 23): Andante (SLOW); Moderato (MODERATELY);
Allegro (FAST).
67. Play "Lightly Row" page 23 with correct fingering,
smooth timing and appropriate tempo (moderato).
68. Play "The Blue Danube Waltz" page 23 with accuracy
of fingering, timing and tempo (allegro).
69. Play "The Blue Danube Waltz" accurately and with
ease.
70. Learn to play "Country Ahd Western Duet" part one
in preparation to playing it as a duet rage 24.
.MUS 4
71. Learn to.p)ay "Country An#,,Western Duet" part twoin preparation to playing ft as a duet page.24.
72. Play part one'and then part two (or vice versa) of"Country And Western Duet" page ,24 'with the teacheror another student.
73. Demonstrate an understanding of dynamics by play-ing the song "Echo Waltz" on page 25 accuratelywith all proper dynamics.
74. Demonstrate an understanding the following rests,by learning both.parts of the duet ."The DesertSong" page 26: quarter rest, half rest, wholerest.
75. Play accurately a piece of music utilizing dynamicand tempo markings (combined tempo markings" of al-legro poderato) by learning "Echo. Rock" page 26.
76. Play the four-string C chord as illustrated on the.top of page 27 of the textbook.
77. Play smoothly and accurately the song "Largo FromThe New World Symphony" page 27.
78. Play nd accompany with chords the song "Tom Doo-ley" page 27.
79. Play 'or accompany the song "Tom Dooley" page 27.whilesinging it.
80. .learn to plo,mith smoothness and arcuray thesong "Chiapanecas" part one on pages 28 and 29 ofthe textbook.
81. Learn to play with smoothness and accuracy thesong."ChidpWWcrs" part two on pages 28 and 29.
82. Play with smoothness and accuracy first one partand then' the other part of "Chiapanecas' as a duetwith the teacher or another student.
83. Demonstrate an understanding of the time value ofeighth notes by playing the samples illustrated onthe top of paae 30 of the text.
84. Demonstrate the skill of up and down strokes byplaying "Eighth-Note Bounce" page 30 with smooth-ness and accuracy.
85. Further sharpen the skill of playing up and downstrokes in accurate time and tempo (allegro) bylearning the song "She'll Be Comin' Round TheMountain" page 30.
4e)
C.
MUS 4 p. 7
86. Extend the skill of playing up and down strokts byincluding chords'by learning, to play the song"Walkin' Bass Rock" page 31 with accuracy and smooth-
ness.
87. Learn te speed drill. No. 1 on page 31 skillfully
enough to be able to play it up to allegro tempo. .
88. Play and to sing while playing the accompaniment -
of a -piece of music by learning "This Old Man"
page 31.'
89. Demons ate am understanding of the musical sym
. bols ( igns.crescendo and diminuendo)by playing .
"This Man" which incorporates these signs.A
90. Explain the relationship of each fret 'on the
guitar to whole and half steps (page 32).
91. Explain the musical signs* sharps 0, flats b and
naturals 4 as related to the frets (page 32).
92. Play accurately and with understandimg tiiepchrqr
matic scale on page 33. 1.
%
93. Play the song "Chromatic Waltz" on page 33 accurate-
ly. ., Q.
94. Play the song "Chromatic Rock's' utilizing: chro-,
matics, dynamics, dynamic signs, tempo marking,
rest (accurately and smoothly)'page 33.
95. Demonstrate the skill of playing the four-string.chord 07 as illustrated on page 34 of the text-
book.
96. Play a piece of music which includes the !7 chord
by playing the song "CamOtom Races" page 34..
97. Play accurately a piece of music which incorporatesaccidentals (instead of a key signature) by learn-
ing the song "Four-Beat Blues" page 34.ZAP
98. Play smoothly and accurately the song "The Craw-
dad Song" page 35 - the notes and chords as well
as the chord acco'mpanimept. (This song gives
more practice of the 07 chord.
99. Play accurately the rhythms, tempo, chords and
accidentals in the song "Rockin' The Bach" nage
35.
MUS 4 P. 8
100. Learn to play with ease and accuracy the song"Country Fair"using uo strokes where applfcable,
for smoothness page 36.
101. PNctice Speed Drill No. 2 until skillful enough
to play it at allegro tempo.
102. ,Play a piece of music which has a double endingby learning part one of the song "Rhythm andBlues Duet," page 37.
103. Accompany a piece of music which has a doubleending US, learning part two of the song "Rhythmand Blues Duet."
104. Play either part of "Rhythm and Blues Duet"accurately enough to play it with the teacher
or another' student.
105. Explain the construction of a major scale bytudying-page 38 of the textbook.
106. Explain and play the major scales of C, G, abd
F as described and illustrated on page 39.
107. Explain the function of key signatures in music.
108. Play and accompany a song in the key of C bylearning and playing accurately the song."DownIn The Valley," page 40.
109. Play and accompany a song in the key of' G by
learning and playing accurately the song "Gaily
The Troubadour," page 40. 44.
110. Play a song in the key of F major by playing ac-curately the song "Billy Boy," pane 40.
111. Play smoothly and accurately "Booaie Rock,"
page 41 which utilizes up and dowr strokes,tempo, fermata, and accidentals.
112. Play.in exact time the two pants of "AccidentalBlues" duet page 41. Play first one part and
'then the other of "Accidental Blues" with the
. teacher or another student.
113. Describe and explain dotted quarter notes byusing and practicing the preparatory drill on
page 42 of the text.
Mus 4 P.
114. Play songs which have dotted note and* tied note
.rhythms by learning to play the following songs
with accurate timing: "Auld Lang Syne" page 42,
"Cindy," page 43 and "London Rock," page 43.
115. Learn with smoothness and accuracy pert one of
the duet "Chuckin' Around," pages 44- and 45.
Up strokes are to be used where applicable for
improving stroking techniques.
116. Play with smoothness and accuracy part two o
tt'e duet "Chuckin' Around" pages 44 and 45.
'117. Play with smoothness and 'accuracy first one
part and then the second part of "Chuckin'
Around" with the teacher or another student.
118. Explain the construction of a major scale (this
is a review) page 2.
.119. Play either part one or part two of "C SCALE IN
CONTRARY MOTION," page 3 with the teacher or
another studedt.
120. Play "SPEED BUILDER IN C" in any tempo that the
teacher designates.
121. Play with accuracy a song with many skips by
learning the song "SKIPPING ONE NOTE," page 3.
122. Play with ease the following chords review..
ing them (top of page 4); four-string C chord,
G chord, G7 chord and 07 chord. The exercise
below the illustrations is to be used.
123. Play correctly the double endings, tempo, rests,
chords, and dynamics of "FOUR-STbING THING,"
page 4.
124. Play dotted note rhythms and eighth note pat-
terns smoothly and correctly in the song "ROCK
'N' RIEF," page 5.
125. Play correctly and in allegro tempo the song
"ROCK ISLAND REEL," page 5.
126. Demonstrate an undertanding of the key of G
major by play it (both parts) in "G SCALE IN
CONTRARY MOTION" with the teacher or another
student, page 6.
127. Improve the skill of playing the G major scale
by practicing "SPEED BUILDER IN G," nage 6.
MUS 4 p. 10
128. Play the song "CAN-CAN" in the key of G, sage 6.The repeat sign is to be observed.
129. Play the C major scale and the G major scale whencalled to do so by the teacher. Review pages 3and 6.
130. Play with ease and accuracy part one of the duet"PARADE OF THE TO SOLDIERS," page 7.
131. Play with ease and accuracy part two,of the duet"PARADE OF THE TIN SOLDIERS," page 7.
132. Play first part one and then part two of the duet"PARADE OF THE TIN SOLDIERS," page 7, with theteacher or another student.
133. Play and accompany with'chords,the song "CORN-STALK FIDDLE," page 8.
134. Play "CORNSTALK FIDDLE" with ease as well as ac-curacy by practicing it more.
135. Play the song "ARKANSAS TRAVELER," nage 8.
136. Ploy correctly and up to tempo the song "STRAIGHTEIGHT ROCK," page 8.
137. Study and be able to explain the three princi-pal chords in the key of G major; tonic chord,sub-dominant chord, and the dominant'chord (G,C, and D7) page 9.
138. Play well the six - string G chord and the five-string C chord as illustrated on page 10. Theexercises provided will give the necessary prac-tice.
139. Play an accompaniment with the four string D7chord with its bass note, page' 11.
140. Play with smoothness, accuracy and the correcttempo the solo part of "OLD DAN TUCKER," page 11.
141. Play an accompaniment to a piece of music in thekey of G major using the bass notes of the chordsas written in the accompaniment part of "OLD DANTUCKER," page 11.
142. Play either part of "OLD DAN TUCKER" with the teach-er or another student. Play the alternatinn bassnotes in the key of G major as presented on pane 12of the text.
MUS 4 o. 11
143. Master the technique of accompanying in the keyof G major by playing accurately "ACCOMPANIMENTIN G MAJOR," page 12.
144. Play &oth parts (solo and accompaniment) of the'song "OH, HOW HE LIED," page 13. Sing while,accompanying the song "OH, HOW HE LIED" (Allthree verses!).
145. Play with skill the solo part and accompanimentof "THE HORSES RUN AROUND," page 14.
146. Play either part as a duet "THE HORSES RUN AROUND"with the teacher or another student.
147. Play with one of three alternate fingerings thethird, D and B together, by learning with smooth-ness and accuracy the song "DOUBLE NOTE BLUES,"page 14.
148. Play a bass solo with chord accomoaniment bypracticing the example given on the top of page15 of the text.
149. Play a bass solo with chord accompaniment bylearning to play smoothly and correctly "LOWDOWN BLUES," page 15.
150. Review page 14 and the top of page 15.
151. Play accurately and sing while accompanying thesong "ALMA MATER," page 15.
152. Demonstrate an understanding of triplets by play-ing in correct time the exercise provided on page16 of the text.
153. Play a piece of music having triplets in it bylearning accurately "BEAUTIFUL DREAMER" in andantetempo, page 16.
154. Play "BEAUTIFUL DREAMER" with ease as well asaccurate time by practicing it more.
155. Gain more skill and understanding of triplets bylearning correctly the piece "TRIPLE VIBRATION,"page 17.
156. Play a Rock 'n' Roll triplet rhythm in a song bylearning to play smoothly and accurately "COUNTYOURSELF IN!" pule 17.
mus 4 p. 12
157. Explain the structure ofa minor scale by studyingpage 18 of the textbook.
158. Play "E MINOR SCALE IN CONTRARY MOTION" duet withthe teacher or another student.
159. play correctly "MINKA, MINKA" in the key of Eminor, page 19.
160. Play accurately and with skill the three principalchords in the key of E minor: E minor, A minorand B
7 as presented on page 20.
161. Play accurately and with skill the bass and al-ternating bass notes of the three principal chordsin the key of E minor as presented on page 20.
162. Play slowly but accurate* "INFIRMARY BL..UES" onpage 21.
163. Play the accompaniment (in E minor) for the piece"LA CUMPARSITA," page 21.
164. Play the 5 string C chord, the 4 string F chord,and the 6 string G7 chord which are the threeprimary chords in the key of C.
165. Play accurately ind smoothly "ACCOMPANIMENT IN CMAJOR," page 23.
166. Play both the solo and the accompaniment parts of"OUR BOYS WILL SHINE TONIGHT" which is in the keyof C major, page 24.
167. Play triplets employing either all down strokesor alternating down strokes and up strokes byprIticing the TRIPLET STUDY on page 24.
168. Play both the solo and accompaniment parts of"WHO'S GONNA SHOE YOUR PRETTY LITTLE FOOT?"page 25.
169. Play the chord sequence C, Am, F, G (or G7) whichis known as a "turn-around" in Rock 'n' Roll bylearning to play with skill the four ways sug-gested "FOUR WAYS TO TURN," page 25.
170. Play with skill and ease bass runs without chordchanges by doing all of the examples on page 26.These examples include:
C chord with Fundamental Bass
C chord with Alternating Bass
mus 4
G or G7 with Fundamental Bass
G or G7 with Alternating Bass
F with Fundamental Bass
F with Alternating Bass
07 with Fundamenal Bass
p. 13
07 with Alternating and Fundamental Basses
171. Play with skill and ease bass runs with chordchanges by doing all of the examples on page 27.These examples include:
From C to G (7) and back to C in 3 and in 4
From C to F and back to C 11 11
From G (7) to C and back tr G(7) "11 1,
From G to D7 and back to G II
172. Explain six-eight time and how to count it, page28.
Play a piece of music in accurate time when itis in six-eight by learning "PADDY WHACK," page28.
Play "PADDY WHACK" correctly 'by observing the D. S.al Fine and' Fine musical directions.
173. Play with accuracy dotted note rhythms in six-eighttime by learn] -ng correctly "THE EYES OF TEXAS,".page 28.
174. Play both parts of a duet in six-eight time bylearning accurately parts one and two of "SIX-EIGHT ROCK," page 29. When learned, it is tobe played with the teacher or another student.
175. Explain the relationship between the key of Cmajor and the key of A minor by studying andusing the illustration on page 30.
176. Play the A minor scale by praying A MINOR SCALEIN CONTRARY MOTION (Duet) with-the teacher or an-other student, page 30.
.11
MUS 4 p. 14
177. May the three principal chords in A minor bylearning the following (pages 30 and 31):
5 string Dm Ghord
Dm with bass and alternating bass note
6 string E7 chord
E7 with bass and alternating bass note
174. Play "COME BACK TO SORRENTOI! and its chord ac-companiment which is in the key of Am, page 31.
175. Playa piece of music in waltz time (in the key ofAm) as well as its alternate bass and chord ac-.3mpaniment by learning accurately "DANUBE WAVES,"page 31.
176. Explain and play thd F major scale, pager32.
177. Play with the teacher or another students"F SCALEIN CONTRARY MOTION" (Duet), page 32.
178. Play a piece of music in the key of F major bylearning accurately "RAKES OF MALLOW," page 32.
179. Explain and demonstrate time signature as pre-sented in "T4E AMERICAN PATROL," page 32.
180. Play A'THE AMERICAN PATROL" in accurate time and byusing the correct dynamics.
181. Play "LO-HI R°4," page 33, moderately fast beingcareful to observe the accidentals, ties, repeats,and dynamics.
182. Play a piece of music in the key of F major which --'has many skips in it by learning accurately"CHICKEN REEL," page 33.
183. Play with skill and accuracy the three nrincipalchords in the key of F major by learning thefollowing (pages 34 and 35):
4 string F chord
4 string Bb chord
Bb chord with bass note
Bb chord with bass and alternating bass
MUS 4
5 string C7 chord
C7chord with bass note
C7 chord with bass and alternate bass .
184. Play smoothly and accurately "ACCOMPANIMENT IN F
MAJOR" on page 3.5 of the text.
185. Play accurately the solo and accompaniment parts
of "A FOR ALWAYS," page 36. Also sing and accom-
pany it.
186. Play accurately-the solo and accompaniment parts
of "CARELESS LOVE," page 36. Use alternatingbasses in the accompaniment.
p. 15
187. Play another Rock 'n' Roll "Turn-Around" using
this sequence: F, Om, Bb, C, or C7.'
188. Play another song in the key of F major by learn-
ing "I KNOW WHERE I'M GOING," page 36.
189. Play smoothly and accurately "TRIPLE...BEAT ROCK"
on page 37 (part one)..
190. Play part to arpegiated chords by observing the
ties in "TRIPLE-BEAT ROCK."
191. Explain the relationship of the key of F major
to the key of D minor by using the example on
page 38.
192. Play with the teacher or another student "D MINOR
SCALE IN CONTRARY MOTION," (Duet) page 38.
193. Play skillfully the following (pages 38 and 39):
5 string Dm with bass and alternate bass note
4 string Gm with bass and alternate bass note'
6 string A7 with bass and alternate bass note,
first form
6 string A7 with bass and alternate bass note,
second form
194. Play smoothly and accurately a rock song in Dm by
learning "MIDNIGHT SUN," page 39.
mUS149
195. Play accwrat:ly another song in Dm by learning"RATTLE Of &ERICH" page 40 and to be able toplay an accompaniment for it using the indicatedchords above the music staff.
16
.196. Play, part of "GO DOWN MOSES," page 40, anotherpiece in Dm.
197. Play skillfully part two of "GO DOWN MOSES," page40, so as to be able to play this song as a duet.
198. Explain the key of D major and to be able to playthe major scale in D, page 41.
399. Play "D SCALE IN CONTRARY MOTION" uet) as aduet, page 41.
200. Practice the "SPEED DRILL" on page 41 until accuratein all tempos.
201: Play "DEVIL'S DREAM" which is in D major and in=cludes many skips in the melody, page 41.
202. Play skillfully and accurately the three principalchords in the key ofD major. These include (pages42 and 43):
5 string D chord
chord with bass note
0 -chord with alternate bass note
6 string G chord
6 string A7 chord, first form
6 string A7 chord, second form
20)r: Play smoothly and accurately "ACCOMPANIMENT IA ti
MAJOR" on page 43.
204. Play well the solo and accompaniment parts of"WHEN THE SAINTS GO MARCHING IN" which is in thekey of 0 major, ^age 43.
205. Sing and accompany self "WHEN THE SAINTS GO MARCH-ING IN."
206. Sing and play "GREEN GROW THE LILACS," page 44.
207. Play well (as a solo'or as a duet) part one of"EL CHOCLO," pages 44 and 45.
Ms 4 p. 17
208. Play "EL CHOCLO" (pages 44 and 45) as a duet bylearning part two
200. Play smoothly and accurately "3-0 ROCK," page 46.'
210. Play "3-0 ROCK" as a duet by playing either ofthe two rhythms suggested at the top of page 46and by observing the chord letters above themusic staff.
MUS 13
BASIC KEYBOARD STUDY 1
A STUDENT'S FROG LESS WILL BE DETERMINED BY HIS MUSICALABILITY: ABILIT' TO READ AT SIGHT; DE?ELOPtiENT OF TECHNICALFACILITY; AN AWARENESS OF MUSICAL SriUCTURF; A KNOWLEDGE OFTHE PRINCIPLES OF HARMONIC OTI0%, EFFECTI CHORD VOICING,AND PATTERNS OF CONTEMRORARY CHORD PROGRESSION.
TEXT,: Units I through IX are designed for A MODERN METHOD FORKEYBOARD STUDY, Volume One, by James Progris, tierklee Series.
Uni I
Objective #1. The student will demonstrate his cc4rehensionof rudimentary pitch and rhythmic notation;posture and hand position; eercises concentratingon white keys within one keyboard area; intro-duction to modern chord studies by performing the
following activities.
Activities:
1. Explain-the Grand Staff. "See p. 1 of the text.
2. Name the two clefs and draw the proper symbol to rtpre-sent each.
3. Write the musical alphabet from the f space below theg line in the bass clef to the g space above the trebleclef.
4. Explain what is meant by ledger lines.
5. Relate the keyboard to the Grand Staff. See p.4 in
the text. Each octave of trig keyboard from c to cis identical. Study this chart carefully and play iton the keyboard.
6. Explain the meaning of a time signature.
7. Explain 44
8. Explain 3 .
4
MUS 13
BASIC KEYBOARD STUDY
9. Explain 2 ..
4
p. 2
10. Explain 5 .
11. Explain what time_ duratio,ns are.
12. Describe what the duration of a tone is called.
13. Describe what the duration during which thefe is
silence is called.
14. Explain the.note durations and the rest durations.
See p. 4 in the text. *
15. Explain the duration of a note or rest followed by
a dot. Give the number of counts per example. See
p. 4 in the text.
16. State the five basic rules of posture for the
keyboard.
17. Explain the five basic rules for correct hand position.
Correctly number the fingers of both hands for the
keyboard.
19. Write the rules for sight reading. See p. 6 in the
text.
20. Practice sight reading from one of the other texts in
the room as well as from the basic text.
21. Explain a practice routine in your own words.
22. Play each of the basic chord structures in every in-
version, and in close position. See p. 8 of the text,
Ex. 1.
23. Play the triadic harmony chords above the given bass.
Ex. 2, p. 9 in the text.
24. Explain the symbols I IV V for a given bass.
MUS 13
BASICKEYBOARD STUDY . p. 3
25. Playthe modern four-part chord progression'.Ex. 3, p. 9 in the text.
26. Play the three closest chord tones below thegiven melody note." Ex. 4, p. 9.
27. Explain the following chord symbols: E A G C
7 7 7 6.
28. Study for reference purposes the basic chord structureson p. 10 and 11.
29. Explain and demonstrate the chord formula.
30. Explain and demonstrate the chord type.
31. Explain and demonstrate the chord symbol.
Unit I
iOlnatve #2: The student will demonstrate his ability oftechnical studies limited to white keys; .sightreading in two parts, alternating hands; andthe study of modern chords by performing thefollowing activities.
Activities:
1. Rest the five fingers lightly on C, 0, E, F, 6-, in
both hands.
2. Slowly lift the finger indicated by the number. Theother fingers should continue to rest on the keys.
3. AttaCk key quickly.
4. . Pause - finger rests lightly on the key.
5. Practice Exercise 1 on p. 12 for the right hand, thenplay the b section for left hand.
6. Use the metronome setting suggested for each exerciseon p.13 and 14.
'et
PIUS 13..
BASIC KEYBOARD STUDY
O
p..4
7. Play each exercise 3 times;0
8. Pay attention to the individual finger action.
9. Play the material on p. 15 alterpatig the right'and,
.41t. Acquire ,an understand'ing of the modern chord studies"
on p. 19.4
12. List the 5 principles for playing the four Part: chords
in the right hand.
13. Understand that small .um" is synonymous with the dash,
as in p7.
14. Play thechords for the blanks measures on p. 20.
14.1lay the chords. presented -an p. 20 in the text.
UnitObjective #-3: the student will 'demonstrate hiStnowledge of-
tile black keys'hands separately;, white keys hands
together; sight-reading*hands togeter'in simul-taneity; eighth note rhythm; II , V , I chords;
by performing the following activities.
Activities: .
1. Explain, hat accidentals are.
2. De.'Scribe What a sharp does to the pitch of a tone
and give the correct symbol.
3. Describe what a flat does to'the pitch of e tone
and give the correct symbol.
Descri'ie what a natural is used ,-for and, give the.
correct symbol.
5. Explain what d half-step is (n the 15-ra-Wol
dr
..
I
MUS 13y.
BASIC KEY'DOARD STEP( p. 5
6. Explain how an accidental affects notes in a com-position.
7. Describe what is meant'by the term Enharmonic. Seetechnical studies Ex. I, p. 23.
8. Explain the lets frequently used accidentals, theDouble Sharp and the Double Flat and give thesymbols for each.
9. Demonstrate how the same finger is used on a tonewhich is altered chromatically as you would use onthe unaltered tone.
10. Play the exercise on p. 22 to demonstrate a chro-matically altered tone.
11. Demonstrate independent finger action by playingEx. 1 .on p. 23 alternating the hands on the technicalstudies.
12. Play all the exercises on p. 24, 25, 26, observingthe rhythm patterns, correct fingerings and metro-nome markings:
13. Prepare both hands to play exercise 5e and 5 b on p.
27, 28.
14. Play the Model oh p. 29, listed under Reading Material,using both hands- at once.
15. Play variation a, p. 29, remembering to look at therhythm, accidentals, rind finge'rings before startingto play. Sight read he'selection first. Have adefinite tempo in mind before you begin playing. Readahead. Speed is not essential.
16. Look at variation b, p. 29, horizontally and verticallybefore playing.
17. Play Exercise 2 called Model on p. 30, then proceedto variation a and b.
18. Sight read Ex. 3 on o. 30 both a and b. You are aboutto encounter your first eighth: notes.
19. Tap the right hand rhythms for variation a before playing.
4
MUS 13
BASIC KEYBOARD STUDY p. 6
20. Tap the left hand rhythms for variation b before
playing.
21. Sight read EX. 5, p. 31. Tap the right hand for
the first 2 measures and the left hand in measures
3 and 4.
22. Play the exercise carefully.
23. Play the remaining exercises on p. 31.
24. Prepare both hands for the keyboard area on p. 32
as shown in the diagram.
25. Notice the five finger position and the starting
note for each hand.
26. Play exercises 9 ?nd 10 on p.
27. Sight read Ex. 11, on p. 32, remembering to tap your
rhythms before playing.
'28. Play Ex. 13 on p..32.
29. Sight read Ex. 1, p. 33; observing, that the exercise
is in 3 time and the right hand will cover the keys
4silently while the left hand continues to play.
30. Play p. 33 and 34.
31. Observe the minimum tempo to be mastered for playing
the modern chord studies on p. 35.
32. Understand the chord marking for:
m V7
I Maj. 7 I Progression
33. Play all the chords on p. 35 many times, over and
over, until you feel you have mastered the chord pro-
gressions.
mUS 13
BASIC KEYBOARD STUDY . 7,
Unit IVObjective #4: The student .will demonstrate his comprehension
of velocity exercises; use of blaCk keys handstogether; interval studies with variations, andmelodies two octaves apart; sight- reading in
two and three parts; dotted quarter rhythm;melodization of chord patterns; V7 of V chord
studies by performing the following activities.
Activities:
1. Play Ex. 1, right hand, p. 36, holding botn notestheir full four beats.
2. Play the variation, making certain the thumb remainsheld for four counts while you play the three quarternotes on beats 2, 3 and 4.
3. Try the same exercise on p. 36 for left hand.
4. Play the technical study on p. 37, Ex. e.
5. Play the variation, making certain a different fingeris used on each whole note at the beginning of the
measure.
6.. Play all.the technical studies on p. 37, alternatinghands.
7. Sight read Ex. 2, p. 38.
8. Tap the first .line of exercise 2, p. 38.
9. Play both hands together. Set your tempo first.
10. Play this exercise, using the various metronome mark-ings suggested at the top of the page.
11. Play exercise b on p. 39.
12. Play each measure eight times on p. 40.
13. 0.bserve the repeat signs and the fermata.
14. Sight read Ex. 1 a and b, and Ex. 2 a and b, p. 41.
MUS 13
44,SIC KEYBOARD STUDY
15. Play Exercises 1 and 2.
16. Sight read Exercise 3, p. 41.
17. Tap Ex. 3, using both hands together.
18. Play Ex. 3 with both hands at once.
19. Practice all exercises on p. 4-2 and 43.
20. Sight read the Model on p. 44.
21. Tap the rhythm using both hands together.
22. Play Ex. 1.0, p. 44, Use a very slow tempo.
23. Practice the exercises on p. 45, observing all the
dotted rhythms and correct fingerings.
24. Play the three exercises in Group II on pages 46 and 47.
25. Comprehend the modern chord studies,on p. 48.
` 26. Play the chords in the key ofC, F and G.
27. Fill In the three chord tones for Bb, Eb, Ab, Db,
and Gu major in the right hand on p. 48 and 49.
28. Play the above chords on the piano.
29. Complete the chords for the following keys: B, E, A
and D major, p. 50.
30. Comprehend the melodic variation on:
p. 8
11 M V I Maj. Pprogression.7 7 6 N
31. Play all measures on p.. 51, using both handi together.
32. Play all chords on p. 52.
33. Review any material in unit four you may need at this time.
34. Sight read material from any other text available in
the room or materials you may have.
INK
MUS 13
BASIC KEYBOARD STUDY 9
Unit V.VEraiive #5: The student will demonstrate his comprehension
of velocity exercises and preparatory thumbexercises for scale study; interval studiesutilizing black keys and change of keyboardarea; sight-reading in two, three and fourparts; harmonization ormelodized chord pat-terns; V7 and II chord,studies.
Activities:
1.. Practice the .exercises on p. 53 for the-Tight handdiatonically and using the accidentals written inparentheses.
2. Play exercise a on p. 53, using the metronome markings.
3. Practice .the exercises on p. 54 and p. 55 for the
left hand diatonically and using the accidentalswritten in parentheses.
4. Play exercises b and c on p. 54 and exercise .d on
p. 55.
5. Play each measure at least 8 times on p. 56 and ob-serve the repeat signs and fermata.
6. Practice all exercises on p. 57 and 58, alternating
hands.
7. Play exercise 4 a, b, c, d, p. 59, alternating hands andpassing the thumb under the other fingers. The thumbsshould be bent and tucked under the hand as soon asthe second finger strikes.
8. Practice the exercises again, allowing the wrist to
precede the hand.
9. Sight read the Model on p. 60.
10. Tap the rhythm in both hands.
11. Play the exercise, taking care to set your tempo first.
12. Play variations a, b, c, d, e, f, p. 60 and 61. Ob-
serve all rhythms in your playing.
MUS 13
BASIC KEYBOARD STUDY p. 10
13. Sight read Ex. 2 on p. 62.
14. Tap rhythms in both hands to Ex. 3 on p. 62.
15. Play exercise 3 on p. 62 in both hands at once.
16. Play Ex. 4 and 5 on p. 63 and observe carefully
all accidehtals.
.17. Prepare.,Ex. 6, 7, 8 on. p. 64 with metronome markings.
Play these exercises several times.
18. Comprehend the 2 time signature before playing Ex. 1,
p. 65; . 4
19. Tap the rhythms in both hands before playing.
20.. Play Exercise 1 and 2, p. 65.
21. Prepare for the keyboard area shift on p. 67, Ex. 6.
22. Sight read the exercise first and then play the first
line several times.
23. Practice p. 68, Ex. '7 and 8.
24. Study the chord progressions on p. 69.
25. Play the chords in the key of C - F and G major.
11 11 m V 11 m V I !rt Progression
7 7 7 7 6.11
26. Fill in your chords for the key of Bb major-in the
right hand on p.69.
27. Play the chords in the various keys for p. 70 - 71.
28. Study the melodic variation on
V
7
V V V Progression on6'
1
p. 72
4
MUS 13
BASIC KEYBOARD STUDY p. 11
29. Observe the fifth finger being used fur the first
descending note.
30. Play both hands together to exercises on p. 72,
73, 74.
UniA VIObjective i/C: The student will demonstrate his comprehension
of the.use of pedal; the C major scale, hands
separately, through two octaves; preparation for
the G major scale; sight reading in two, three
and four parts reading of four-part chorale
variations with pedaling; accidental alter tions
of key signature; chord inversion drills by
performing the following activities.
Activities:
1. Comprehend the names of the three pedals used on
the grand piano. p. 75.
2. Demonstrate your knowledge of the Damper Pedal.
3. Demonstrate your knowledge of the Soft Pedal.
4. Demonstrate your knowledge of the Sostenuto Pedal.
Use the grand piano only for the Sostenuto since many
uprights and spinets have only ,two pedals.
5. List the three most common markings pertaining to the
tamper Pedal.
6. Play the exercise in the middle of p. 76 for pedal
practice.
7. Since only.the Damper Pedal will be used in Volume I
give the symbols to indicate the press and raise motion
you will be concerned with.
8. List four uses of the Damper Pedal. See p. 77.
9. Practice the exercises on p. 78,alternating the hands
both diatonically and using the accidentals in paren-. theses.
MUS 13
BASIC KEYBOARD STUDY p. 12
10. Play p. 78 again, and observe all tied notes.
11. Play p. 79 in the same manner.'
12.. Playing the same notes in both hands at once, doexercise 2 a and b, p. 80 and 81.
13. Play these exercises again with the metronome.
14. Prepare for the C major scale in two octaves, p. 82.
15. Play theC major scale in, each hand separately.
16. Prepare for the key of G. Observe the key signature.
17. Play Exercise 4, p. 82 and make certain the thumb isturned under on C in the right hand. Play once in /.
whole notes, quarter notes and finally in eighth notes..
18. Play the exercise for the left hand in the same manneryou did your right hand.
19. Sight-read carefully p. 83 since the thumb is usedunder the fourth finger in both right hand and lefthand.
20. Play p. 83, taking care not to push the elbow awayfrom your side.
21. Tap the Model Ex. 1., p. 84 before playing in both hands.
224 Sight-read Var. a, b, c, d, e, f before playing p.84 - 85.
23. Play the 4,bove exercises and observe all accidentals.
24. Play EX. 3, p. 86, being careful to sound double notesin the right hand.
25. Before playing Ex. 4, p. 86, try the left hand aloneexercising care in holding down half notes their fullvalue.
26. Prepare exercises 5, 6, 7, p. 87..
MUS 13
BASIC KEYBOARD STUDY p. 13
27. Sight read the Model p. U8, involving a tour part
29. Play the variations a, b, c, d, e, f,.g; k and use
the metronome marking5.
30. Prepaz: Group II, .p.690 and 91, Ex. 1, 2, 3, 4. Notice
the different ke- signatures and time signatures for
each.
31. Play exercises 5 a and b, p. 92.
32. The keyboard area shift is employed on p. 93. Tap
Ex. 6; first in the right hand, then on the second line
do your left hand tapping alone. Observe the shift in
both hands when sight reading.
`33: Play exercise 7t p. 93.
34. Comprehend the four inversions study of modern pro-
gressions of the Minor Seventh, Dominant Seventh and
Major Sixth.
35. Revi chord function and chord symbols.
36. Play the MajorSixth Chord Drill. All inversions on.
p. 95.
37. Complete tp Major Sixth Chords yourself beginning
with the B 6 through to G6. p. 95.
38 Play the Dominant Seventh Chord Drill, p. 96 and
complete the chords yourself starting with the 13°7.
39. Practice the Minor Seventh Chord Drill on p. 97.
40. Complete the chords beginning with the 8b7 through
to the G 7.
MUS 13
BASIC KEYBOARD STUDY p. 14
Unit VIIObjective #7: The student will domontrAte hip. :01"PrOhoh-
sion of velocity exercises in the chroNaticscale; C major scale, hands together, throughtwo octaves; G major scale, hands separately,'and preparation for F major; sight - reading' of:four part chorale with variations, and com,-'binations of 'different keyboard areas; inter-"potation of 11 m 7 into V7 of V progressions.
Activities;
1. Play each exercise-at-lviast 8 times on a, 98, al-ternattrhg the:hands. kepare a, b ,,c and d. Studythe chromatics.
2. Prepare- exercise 2 a in quarter notes and exercise bin eighth notes.. Observe the fingeriqg for the Cmajor scale.
3. Play the G major, scale on p. 99, in both right han'dand left hand._
4. Practice exercises a, b, c-and d, using quarter notes,then eighth notes.
5. Sight-read the F major scale p. 100, ex. 4.
6. Observe the fingerings in both hands being certain thethumb turns under the fourth finger.
7. Play exercises a, b, c, d on p. 100.
8. Sight-read the keyboard area example at the top ofp. 101.
9. Place fingers over the keys and play the Model inExercise 1, p. 101.
10. Play variation-s a through h, taking care to observeall accidentals.
MUS 13
BASIC KEYBOARD STUDY . p. 15
11. Tap the rhythms in both hands for Ex. 2 and 3, on p, 103.
12. Sight -read Ex: 4, p. 104. Observe the .tied notes,
rhythms, fingerings and intervals.
13. S. ht-read the four_ part chorale on p. 105.
14. Play the Model and the variations a through.e.
15. Review any of the variations if you forgot your pedal-
ing.
16. Practice Exercise 1 in Group II, p. 106. Observe
the melody going from treble clef to bass clef.e-
17. Play exercise'3 on p. 107. Be extra careful of the
key signature and the accidental which occurs through-.
out.
18. Practice exercise 5 on p. 108, hands alone until yo-u
feel comfortable with the fingerings in the left hand.
19. Play boeth hands together on Exercise .5 when you have
mastered each hand separately.
20. Practice several times the combined keyboard areas in
C major on p. 109.
21. Tap the rhythms in exercises a and b, p. 109. Do'
this both hands at once.
22. Pr'actice several times the combined keyboard areas in
F. major at the top of p. 110.
23. Tap the rhythms for exercise a using your both hands
together.
24. Play exercise very slowly..41t.
25. Practice the combined areas in G Major several times
at the top.of p. 111.
26. Tap the rhythms for exercise 9 a.and 9 b, p. 111, using,
your both hands together.
27. Play both exercises slowly.
6
MUS 13
BASIC KEYBOARD SIUUY p. 16
28. Sight -read, the Model and synthetic scales inExercise 10 a, b, c, dip. 112 and 113.
29. Prepare the chord studies on p. 114,
Hll m7
V 11..m. 7 7
V 7' I I li
30. Play the chord studies in the key of C, F and G withthe minimum tempo given to be mastered on p. 114. /
31. Write your chords for the remainding keys given on p.115 through p. 116.
32. Play the chords you have wrltten.
33. Study theFour Chord Patterns on p, 117, listed under#1, #2 and #3.
II VI m 11 m V I
b o
I 111 7 11 m V I;
1 6 7 7 7 . 6 7 7 1 i
--44...
il,/ #/o
.m V
1 6 ' 7
ri
7 7 ii
34. Play the above chords in C, F and G major.b b
35. Complete the keys of B through C Major, pages 118to 122.
36. Study the chord progressions in
I V i IV I
6 7 6 IV
6
37. Play as many of the examples asdoing on p. 122, 123, 124.
#4, p.
IV m
122.
6
you are capable of
ACKNOWLEDGEMENTS au COPY liVianguE
Over two hundred members of the professional staff par-
ticipated in the production of these guides in varying
degrees and functions during a period of approximately
three years. Special recognition is extended to the
following persons:
Coordination:
Dr. Guy N. DiBiasioDirector of Curriculum
Arnold R. RogersDirector, The Fifth Quarter Plan
Title III, E.S.E.A.
Review of Content:
Department Chairm n
Business: G. Gordon, R. Zuromski C Abosuira,
Boyer, R. Carbone, H. Hatch, J. Kenned51, Forel n Lan ua e:N. Bergeron, A. DeLuca, N. Cimorel i, R. Napo ono, A.
Tribelli; Mathematics: J. Alfano B. Burns, R. Chiellis
L. Sanford7CrWriTTo; Science: E. Blamires, F. Fiorito,
J. Gardiner, T. Lennon, . S oc m, Jr.; Social Studies:
W. Campbell, J. Marandola, T. Raspallo, E. Su ton777Ved-lock, P. Zisserson, (Acting). Also, Fine Arts: P. Rylander
and Industrial and Domestic Arts: A. earresi.
LAilial gag frogfreading:
Arlene Beauchemin Thomas Raspallo'
Darnell McCauley William Reilly.Emily Nickerson Joseph Rouleau
Eileen Sibielski
Curriculum Writitn:
C. Abosamra, S. Aiello, J. Alfano; S. Alfano, A. Ball,
A. Beauchemin, R. Bernier, A. Blais, E. Blamires, D.
Boyle, B. Burns, J. Calise, W. Campbell, R. Carbone,.
P. Castelli, S. Chagnon, S. Connors,.R. Coogan, L.
Corbin, J. D'Ambra,. M. DeBiasio, A. DeLuca; S. Di7
Iorio, J. DiMitri, T. Donovan, J. Evans, E. Fink,
J. Fricot, R. Forrest, A. Gainbardella, T. Ge'igen,
D. Grassi, P. Gustafson, R. Hall, J. Herne, D. Hodgkin..
son, P. Johnson; C. Keegan, T. Lennon, C. Liguori, A.
Lisa, T. Lucas, P. Mancini, A. Mangili, J. M'arsis,
D. McCauley, J. McGoldrick, R. McKenna, W. Meciunas,
J. Monaghan, M. Murphy, R. Napolitano, D. Neris H.
Nicholas, E. Nickerson, M. Perry, P. Pichie, M.
Pitocchi, T. Raspallo, W. Reilly, D. Robidoux, R.
Roct.efort, A. Rogers, .J. Rouleau, A. Santandrea, R.
Schofield, E. Sibielski, C. Spacagna, C. Spirt°,
G. St.Jean, T. Stones, E. Sullivan, W. Sze9lia, M.
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